'TUTTI CELLI' Newsletter



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\ _/    'TUTTI CELLI' Newsletter, March/April 1997

TUTTI CELLI CONTENTS -- volume 3, issue 2

New Members Message
ICS News and Announcements
2100+ members from 50 countries! / New ICS Staff
John's Jabber Soliciting Membership Opinion
Letters to the Editor
New and Old Member Letters

Featured Artist

Membership Spotlight

Feature Article

Masterclass Report

Video Review

ICS Forum/ Cello Chat Expert advice on rehairing and rosining
Music Festival Watch Summer Festivals
ICS Library and Reference
Activities and Notes Board Raya Garbousova passed away
ICS Award Website of the Month A Portrait of Pablo Casals
Other Internet Music Resources NDCA


(Members are encouraged to e-mail forum hosts but please remember that they
are volunteering their time.)

Owen Carman, Forum Host (interest in grants, job market and fine
instrument queries)
cello professor at Michigan State and director of Meadowmount School

Robert Jesselson, Forum Host (former ASTA cello column editor)
cello professor at U. of South Carolina and director of USC String Project

Peter Miller, Tutti Celli Proof-Reader
professional proof-reader, editor and rewriter

Mark Tanner, Graphic Designer
cello professor at U. of Florida and commercial website designer

***We need a dependable, knowledgeable young cellist to volunteer as a
forum host!

Thanks to Mark Tanner with Backups, Inc., the Internet Cello Society logo is now rendered in 3D! Though it is still being developed you can view the homepage and watch it revolve and evolve!

Two of our sponsors, CWU and Advanced Data Systems, are working on installing RealAudio servers for ICS that will allow long audio files to be accessed without a wait over the Internet! In the meantime we have added more musical excerpts to our site utilizing the very effective RA compression scheme. See http://cello.org/cnc/realaudi.htm


Recently I have had several organizations request the ICS e-mail list. One is an ICS corporate sponsor and another a commercial vendor. I feel comfortable giving an ICS sponsor a particular member's e-mail address and membership information if that member has indicated permission on his/her ICS registration. (If you indicated that you do not want your registration information released by typing in "no" in the permission field of the registration form, your information will NEVER be distributed, though your information is accessible via the searchable online membership directory.) I do not know if we want to freely distribute membership information or e-mail addresses to non-sponsoring music vendors. Making the information exclusive to the membership and sponsors, I believe that we can attract more sponsorship and avoid frequent distribution of membership information. I really abhor the abusive use of mass e-mailings and want to avoid propagating the problem. Please send me your thoughts on this subject.

If you have not visited the ICS website recently, you may have missed THE OVERHAUL I made of the entire site which now includes over 500 pages and thousands of links. Because of its enormous size, a few all nighters were required to rethink the entire hierarchy of pages, combine the strengths of the Internet Cello Societys pages with the existing ICS pages, and develop effective, custom navigational tools for the site. Marshall has been working on a truly comprehensive index which will be added to the navigational frame soon. Now members can explore the site by using either the table of contents, the original icons, a search engine, the extended index or the What's New page. I still need help to complete a FAQ page...any volunteers?

We are one third of the way to OUR FUNDRAISING GOAL! Join me in thanking those members and organizations that have contributed so far:


***If you would like to respond to something you have read in 'Tutti Celli', write to director@cello.org and type "Letter to Editor" in subject field. (Letters may be edited.)***

Thanks to you and all the volunteers you listed for the time and effort you have put in on ICS. I am sending you my contribution in tomorrow's mail to help further the aims of ICS. I have accessed the ICS on the internet only a few times, and only once left some comments. I didn't necessarily expect any response when a few months later I was contacted by a guitarist who saw that my address was near his. He was looking for a cellist to join him and a violinist/violist in playing chamber music. He sent me the music and we expect to get together in January. So score one for ICS and I am happy to help support your efforts.
Best wishes for the new year to you and all with the ICS.
Bob Peterson
Houston, Texas


Please include "Romania" on your country list - there's two of us, at
least, from there. Many thanks for your great work! CELLO POWER !!!
Andrei Pricope
***Thank you, Andrei, for informing us of the Romanian presence. We have assembled our list of countries from the suffix of the e-mail address, in the case of Romania, it would be .ro. Since you are in the U.S., your address doesn't indicate Romania, and we didn't catch it. I wonder how many more countries we miss because of this. We will keep at it, and meanwhile, Welcome, Romania!
Robert Whipple, ICS Mailer

As I am moving to Wellington to go to university (to study music) I
won't have access to a computer so unfortunately I have to quit the
Internet Cello Society. I've really enjoyed reading 'Tutti Celli' and the
other articles you've sent me; its amazing to be able to tap into the
world-wide cello scene, which we don't hear a lot about here in New
Zealand. Thanks again and I hope the society keeps expanding.
Anna Bull, Hamilton
New Zealand
***We wish you luck and look forward to your return to the Society in the
future. JM


***An Internet Cello Society Exclusive!!!***
by Tim Finholt

TF: When you're up on stage, what are you thinking? Are you the type of musician who tries to paint a picture or are you thinking something like "I want a crescendo here," or "I don't want to miss this shift?"

OH: ...sometimes I have a whole story-line in mind. For instance, in the Franck Sonata, the piece becomes a story about an old woman who is at her husband's grave going through the emotions of remembering the past with him, screaming out in anger at his death. There have been a few times when I've had tears running down my face, because I was so involved in the music and became part of it.

TF: Is this your own personal imagery?

OH: Yes. It just came into my head. That's what the music reminds me of for some reason. Imagery has come to me with certain pieces since I was a little girl. I remember listening to Mahler symphonies and imagining hunters in the woods with deer running away.
It's incredible how music can create these kinds of images. When I talk to people who I'm trying to convert to classical music, I make them listen to the music and come up with their own imagery. I find that this helps them overcome the fact that the music doesn't have words, which gives the music a personal meaning for each listener.

TF: Are there any other cello pieces that you associate with certain imagery?

OH: It's usually very vague and changes a lot. The Franck Sonata is unusual because I've had the same image several times. But maybe I'll imagine something in the middle of a Vivaldi concerto, where I imagine birds in the trees in the springtime. It's not always an actual scene, since I may be experiencing abstract colors, textures, and ideas. Once in awhile a cougher in the third row jolts me out of my concentration and I begin thinking about how much I wish he or she would just leave, which may result in some unpleasant imagery. Sometimes when I'm coming to a beautifully quiet passage where I want the audience to hold their breath, I'll hear "Aaaachooo!" which makes me feel less than charitable towards the offending sneezer. Another one that gets to me is the person with the crinkly cough drop wrapper, who always seems to sit right up front..."



First I must express my thanks to John Michel for the time and energy he has put into the ICS, and I'm sure I speak for all the cellists, members and visitors, in expressing my appreciation. I really enjoy the page.

I began playing the cello rather later than some of my colleagues, at the age of 14, and am now the Principal Cellist of the National Orchestra of Catalonia in Barcelona, Spain. It means a great deal to be working here, only a few miles from the birthplace of perhaps our most illustrious colleague, Pau (Pablo) Casals. I had the opportunity to play at the Pau Casals Auditorium, across the street from Casals' home in El Vendrell for the opening of their summer season last year. I played the C minor Bach Suite, and you can imagine the emotion for any cellist to have that experience. I have been very lucky.

I grew up in Brattleboro, Vermont, only a few miles away from the great cello pedagogue, David Wells, giving me the opportunity to study with him as a teenager and to attend the Yellow Barn Music Festival, his annual summer celebration of cello and chamber music in Putney, Vermont, for six years. I also studied with another great pedagogue of the instrument, Einar Holm, at Ithaca College in Ithaca, New York. Later I studied with David Wells again at Manhattan School, later with William Pleeth (actually not very much with him, but I enjoy dropping his name and I learned a tremendous amount from him in a very short time), another brilliant teacher Martha Williams in New York, as well as Andre Emilianoff at City College.

I lived on 109th St. in New York for 12 years, and managed to stay alive mostly by playing the cello. Lots of Broadway. Lots of chamber orchestras in New York, Hoboken New Jersey, The Berkshires. Lots of opera. Lots and lots of chamber music, most notably with The Hampshire String Quartet and Musicians' Accord, with whom I made a handful of records. The Bronx Arts Ensemble. Bunch of weddings, parties, funerals, museum openings, museum closings, fundraisers on the USS Nimitz, munching hors d'oevres from caterers, some tours, one for months and months of my life with a Sondhiem show called Into The Woods (Would it make cellists chuckle that just before the last note of that show, there was a big drum roll, and the conductor used to wait for me to spin my cello around 7 or 8 times before the last hit?). It was a hectic and odd existence, and ends weren't always met; I can also put on my resumé stints as a fact-checker at Spy and GQ magazines, a waiter at Hanratty's on 96th street, an usher at the Beacon Theater and for three glorious days a telephone salesman for Time/Life Books, "Can I interest you in our great new edition, 'Basic Wiring'?"

Then one day my great and good friend Matthias Naegele called to ask if I had a part for Don Juan. I inquired as to his plans with said part and he told me about an audition, private, that he had heard about, and I should call the guy, see if I could get a time to play myself. I will always have a special place in my heart for Matthias for that phone call. I called the fellow, who was a rather important contractor in New York, and he gave me the last spot to play for Garcia Narvarro of the Barcelona City Orchestra. On Friday, and this was Tuesday. As luck would have it, I was in pretty good shape and had a concerto and some Bach all ready, so I waltzed in and played, not really thinking about it, just another audition, though it would be nice...but don't be silly...and then played rather well; actually had one of those little Zen, magical experiences, playing the Bartered Bride overture by Smetena, I remember looking at my right hand, spiccattoing away, and not controlling it, just sort of watching as it took care of itself. Best spiccatto I'd ever done. As I watched I was thinking about playing softball, and that feeling when you really get a good piece of the ball, and the swing just does itself, the body running on full concentrated automatic.

So I got the job. New life, new country, new language, new career. We have a full time season from October to May, summer activities and a bunch of recordings. I am challenged every week and draw every day on my experiences in New York, but it has been a big adjustment. My cello playing is miles and miles above what it was in New York, and I have learned to be a soloist.


A scholarly examination of the 12 Hommages à Paul Sacher, looking at how these twelve works create material derived from Paul Sacher's name, an analysis of their different forms, and an evaluation of their degree of success from a player's perspective.

by Jeremy Cook

"The Swiss conductor and educator Paul Sacher has been perhaps one of the most influential figures in twentieth century music. Born in 1906 Paul Sacher has been friends with many of this century's greatest composers, resulting in his commissioning of many pieces, including works by Bartok, Strauss, Britten and Stravinsky. In the latter part of this century, Sacher has championed the works of many composers, including those of Pierre Boulez, Luciano Berio, Hans Werner Henze, Heinz Holliger and Witold Lutoslawski.

The occasion of Sacher's seventieth birthday in 1976 prompted many celebrations in his native Switzerland, not least a concert on May 2nd. The entire second half of this concert was devoted to Mstislav Rostropovich's presentation of part of the 12 HOMMAGES À PAUL SACHER (at that time the set was not completed). Rostropovich and Sacher had performed together before and had given the first performance of Henri Dutilleux's cello concerto TOUT UN MONDE LOINTAIN. For Sacher's seventieth birthday Rostropovich had the idea of commissioning 12 leading composers, all of whom were connected to Sacher, to compose a set of theme and variations for solo 'cello based on a cryptogram of the name Sacher. This produced a six note motif of E flat (es in German, from S), A, C, B (H is b natural in German), E, and D (re in Italian) (Ex 1). The original plan was for Benjamin Britten to compose the theme and for each composer to submit one variation. However, all of the composers involved seem to have been so inspired by the commission that all of them produced works that are more substantial than a simple variation. Some of the pieces are cast in one movement, such as Klaus Huber's TRANPOSITIO AD INFINITUM and Heinz Holliger's CHACONNE, but many of the pieces are multi movement, such as Alberto Ginastera's PUNEÑA NO. 2 and Henri Dutilleux's TROIS STROPHES SUR LE NOM DE SACHER. Pierre Boulez broke the bounds of the commission even more by composing his MESSAGESQUISSE for 'cello solo and six 'cello accompaniment. The overall result of this is that instead of a theme and variations that would have been little more than a musical novelty, we have a set of works that constitute a summary of writing for the 'cello at the end of the twentieth century, as well as demonstrating many of the compositional trends of our times.

In this paper I will be examining the 12 HOMMAGES À PAUL SACHER from three different angles. The first section will discuss the use of material derived from Paul Sacher's name in these pieces and how it is developed. This section will present the ways the material is used and varied before discussing the use of material in individual works. As will be seen, this will link with the second section which will be a discussion of the use of the name Paul Sacher in the forms of these works. The third section will deal with the pieces from a 'cellistic point of view, looking at the types of techniques demanded of the performer and how successful these pieces are from a player's viewpoint..."


by Bret Smith

"Timothy Eddy, cellist of the Orion String Quartet, presented a master class at the University of Michigan School of Music on 23 November, 1996. Four students performed, and Mr. Eddy made several general comments not intended for a specific player. This article summarizes some aspects of this enjoyable master class.

Schumann Concerto, First Movement

Mr. Eddy's comments on this student's playing centered on the importance of the contact point of the bow. A full, free and resonant sound can be achieved at the place which displays the greatest resistance to the bow's "pull," in the case of this player, closer to the bridge. When we can be aware of this feeling of resistance, slower bow speeds are possible and very effective, and the sound will bloom.

A particular phrase was selected to illustrate this point, the ascending line beginning in measure 104. Mr. Eddy suggested that this line begin with a very solid contact point, engaging the string boldly, with a sense of release as the melodic line rises. Again, the student did not seem to have a solid enough approach with the bow...."

***Other pieces discussed in the article include the first movements of the Shostakovich Sonata, Beethoven Sonata Op. 102 No. 1 and the last movement of the Dvorak Concerto. ***


by Tim Finholt

I recently purchased a video, "Remembering Jacqueline du Pre," written and directed by Christopher Nupen. It lasts about an hour and contains one inspirational, and yet poignant, moment after another. The video contains footage filmed between 1967 and 1971, before she was diagnosed with multiple sclerosis at age 27.

Much of the video shows du Pre in candid moments with her young friends, who happen to be world class musicians: Daniel Barenboim (her husband), Zubin Mehta, Itzhak Perlman, and Pinchas Zukerman. Her enthusiasm is so contagious, that one cannot help but smile throughout the video. One of my favorite moments occurs when, after finishing the second movement of the Elgar, she slowly looks up at the conductor and breaks into a smile that could melt the polar ice caps.

It is fun to watch her play cello duets with her former teacher, William Pleeth, the great British cellist. Though the duets go on a little too long, since the music isn't great, it is touching to see the mutual affection and respect between the two, and to watch du Pre play simple bass lines with joy.

Jacqueline du Pre was one of my idols during my early years. I relished her intensity and her ability to play with abandon. As the years have gone by, I have sometimes cringed at her playing, feeling that she is a little extreme in her approach. But Sir John Barbirolli responds beautifully to this charge:

"She sometimes is accused of excessive emotions and things. But I LOVE it, because when you're young, you should have an excess of everything. If you haven't an excess, what are you going to pare off as the years go by?"

A dark cloud looms over this video, knowing that soon she will start feeling a tingling and a numbness in her fingers, and that multiple sclerosis will cut short her stellar career. Her early demise is a tragedy for us all.


*** If you would like to ask a question, discuss an issue or get some expert advice, post a message to the official ICS message board called CELLO CHAT . ICS forum hosts have been asked to check your posts regularly. In this way not only do the forum hosts see your message but the entire membership and Internet community! You are still welcome to contact the forum hosts directly***

Write all ICS Hosts or contact one host representatives.
***We need a dependable, knowledgeable young cellist to volunteer as a host!***

Thanks to all you enthusiastic cellists and cello music lovers out there in cyberspace, the ICS Chat Board is roaring to life like the final swell in the orchestra of the Dvorak Cello Concerto's last few measures. We've had people from various parts of the world chatting with each other about all kinds of topics. Unfortunately, some people have experienced a slow down in the loading of the cello chat webpage due to an increasing amount of messages left. In consideration to such people we have decided to delete messages that have been left for over 2-3 weeks. If you find that your message was deleted, please do not take offense it this. We are trying this out for now to see if it helps. I'd like to encourage everyone to continue interacting and visit the chat board often as it builds a sense of community among us all! Happy chatting! Paul Tseng, ICS Cello Chat

Bowmaker offers advice on rehairing/rosining in response to recent thread: Rosin is very important. Equally so is the hair used and the skill of the rehairer. Insist on only the very finest double drawn white unbleached, unoiled hair and be willing to pay extra for it.

Do NOT ask the rehairer to add extra hair to your bow. This will not enhance the playing qualities, tonal qualities, or make it last longer before the next rehair. Do not let the rehairer put any of the shop rosin on your bow unless your exact same type of rosin is used.

Always clean the fresh hair with mild warm water followed by pure denatured ethyl alcohol. (wrap the stick in thin plastic kitchen wrap to prevent any alcohol from touching the stick) Do this several times with a clean old under shirt. Rosin up the bow with your brand of choice. Play the bow for 30 or 45 minutes. Carefully wrap the bow in kitchen plastic wrap again, repeating the ethyl alcohol cleaning but this time do not overly clean the hair. Only remove the excess rosin dust melting the remainder into and around each and every hair. Using a fine hair brush, (not a comb) carefully brush the hairs until they are completely dry making sure none are rosined together.

Now, using your rosin of choice, rerosin the bow only to the point where all the hairs are coated. Make sure the bow is tightened to playing tension during all the above cleaning and rosining steps.

Do not forget to clean your strings of old greasy rosin. Remember, rosin carries a strong negative electronic charge. Every time you play the instrument, static electricity develops on the strings and hair attracting all sorts of dust, dirt, etc. The cleaner the strings and the cleaner the well rosined bow, the more pure and consistent the tone.
Dennis Braun, Bowmaker

***For more selected excerpts of ICS Forum/Cello Chat discussion, please check the ICS Bulletin Board***



If you know of cello society newsletters, bibliographies of music, teaching materials, references, indices, lists or articles that should be added to ICS Library, please send data to director@cello.org. (Library contents will be available to all Internet users; please include author and written statement of release for unlimited or limited reproduction.)


RAYA GARBOUSOVA Perhaps you are aware that cellist and teacher Raya Garbousova died last Tuesday (January 28) in DeKalb, IL, where she had lived and taught for a long while. The papers said she was 87 years old, though we here know she was apt to stretch the truth when it came to discussing her age. She had taught at Northern Illinois University until just a few years ago.
***For more information about one of the most important cellists of this century, see: http://cello.org/cnc/raya.htm

Cello Celebration Concert in honor of Rostropovich's Birthday It will be held on Saturday, March 8 at 7:30 pm on the UNC-Chapel Hill, NC campus. Participating will be soloists Brent Wissick, Dr. Robert Jesselson, Jody Redhage performing Britten, Shostakovich and Cassado. Other ensembles will feature area cellists, professional and students, ending with everybody in a grand finale of the Pachelbel Canon and of course Happy Birthday.
Jane Salemson

The New Directions Cello Association (NDCA) is a private organization which began in 1992 and has created a network for the growing field of alternative and nonclassical cello. The goals of the NDCA are to encourage interaction among nonclassical cellists, and to promote awareness among all cellists and the musically oriented public about the contributions that cellists are making in many styles of contemporary music. This encompasses those musical styles which are not commonly taught to cellists at music schools (jazz, blues, rock, folk, experimental, ethnic, etc.) especially those involving some amount of improvisation. The NDCA publishes a newsletter called Cello City Ink twice a year which contains interviews, reviews, articles, and other information related to nonclassical cello. One of the NDCA's main projects is the New Directions Cello Festival, an annual symposium on the state of nonclassical or alternative cello. For more information on the NDCA and the NDCFest'97 please contact:
Chris White, Director
New Directions Cello Assoc.(NDCA)

Ongaku-No-Tomo, the largest music publisher in Japan will issue a Japanese edition of Victor Sazer's book, New Directions in Cello Playing in 1997. Subtitled How to Make Cello Playing Easier and Play Without Pain, this book introduces natural, tension-free ways of playing the cello. It presents anatomically-improved ways of sitting and holding the cello, a new approach to left arm and hand techniques and fundamentals of bowing. Its innovative approach to body use increases efficiency and improves performance. The author is particularly pleased that the California based cellist, Masatoshi Mitsumoto is doing the translation. According to Victor Sazer, "I could not imagine a more perfect person to translate the book than Masatoshi. Mitsumoto is an outstanding cellist who understands the concepts completely and is also fluent in both Japanese and English

The Turtle Island String Quartet is very pleased to announce the return to the quartet of founding member David Balakrishnan. Mr. Balakrishnan replaces violinist extraordinaire Tracy Silverman, who has left TISQ to pursue other musical goals, including his own band, 'Gutbucket'.

Dave originated the alternative chamber music ensemble TISQ in 1986 with current members Mark Summer and Darol Anger, then left the band in 1993. His list of accomplishments during his tenure with TISQ, and after his departure, are numerous and distinguished. He has twice been awarded grants by Meet the Composer-Lila Wallace/Reader's Digest Foundation, has been nominated for a Grammy Award for best instrumental arrangement, and was awarded an NEA grant to write for string orchestra, resulting in a seven movement piece, 'Spider Dreams', that was premiered in 1993 at the Cabrillo Festival. It was heard that year at Lincoln Center with TISQ and the Concordia Orchestra, then performed and recorded with TISQ and the Detroit Symphony, conducted by Neeme Jarvi.

His most recent compositions are the 'Concertino for Jazz Violin and Orchestra: Little Mouse Jumps' premiered by the Eugene Symphony in 1995, and 'Thyaga', a four movement work for mandolin quartet and violin. 'Thyaga' was premiered in January, 1997 at Merkin Hall in New York City by Dave and the Modern Mandolin Quartet.

Balakrishnan rejoins Turtle Island at an extremely busy time. TISQ is engaged to appear with the St. Louis Symphony and Frankfurt Radio Orchestra, a collaboration with the David Parsons Dance Company in New York and San Francisco, several concerts with the Billy Taylor Trio, and will tour Europe and North America extensively as always. TISQ will instruct at UMass and the Mozarteum in Salzburg, appear on an upcoming edition of St. Paul Sunday on NPR, and of course make a return to A Prairie Home Companion with Garrison Keillor.
tisq@earthlink.net or rzac@usa.net

***All members are welcome to post announcements or news that are pertinent to our global cello society. Send information to director@cello.org***



***Please notify Marshall St. John of any interesting websites that you would like to be considered for inclusion in the future. Websites will be selected regularly based on their content, cello relevance, and presentation style! I have taken the liberty of selecting the first site which I hope you enjoy.
John Michel, ICS Director


Suggest good websites to our ICS NET Surfers
1. New Directions Cello Association

Direct correspondence to the appropriate ICS Staff
Webmaster: Webmaster
Director: John Michel
Copyright © 1997 Internet Cello Society